Discussion in 'The Rack Space' started by italo de angelis, Nov 4, 2016.
Any other Eventide (Eclipse/4000 and higher) can give you that joy in one box!
My H8000FW arrived today. Just wanted to share a pic to celebrate
I'm gonna say congrats on the 8k before someone scolds you about leaving airspace to avoid premature breakdowns.
How are you liking the iConnectivity Mio unit? I've been eyeing their stuff as a way to get all my control issues consolidated.
Ha! I confess I only placed them like this for the photo. The LIO, Creamer, and Triaxis get very hot during use. Definitely going to need at least 1U between each. Wouldn't be surprised to find the H8000 is an oven as well.
The functionality is excellent. The editor is very powerful and comprehensive. However, I've been having alot of problems with crashes. Support told me it's caused by midi feedback loops, and after adding some filtering of unnecesssary midi data to various connections, the crashes have become much less frequent but do still happen on occasion. Honestly the instability issue kinda makes me wish I'd invested in a "dumber" MIDI patchbay... I'm no MIDI wizard however so I'm still not ready to blame the product rather than my own ineptitude. I feel though like a fully featured, complex MIDI router like the mio10 ought to have failsafe mechanisms to prevent this from happening on accident so easily.
Yep. That's the best way to ruin those front panels and what's at the bottom. And yes... leave space.
If that's all the MIDI gear you need to control, you have no need for LIO. A simple MIDI splitter will be more helpful, qucker and easier to setup and you'll gain a free space in the rack.
Yeah, well look what you all did, all of you: you made me buy an 8000 as well, to go with the Mesas....
I told you this would end badly.
Looks like an H8000 thread could be launched...
Any tips for those H3000's that die while a friend from down under comes to visit?
You need to tell what happened, symptoms, how happened, etc....
Some H3000 ambient reverbs... and a THICK doubler...
BLACK HOLE 3
Great classic Eventide effect! Created on the DSP4000 and available in all later units, here's a flashback to the mother of them all, the H3000:
Ambient reverb. Thousands of short delays bounce and get nicely detuned in the distance. Deep and inspiring texture with the classic H3000 tone:
SO LONG, MATE…
Another reverb with animated modulation and that "canyon-like" slopes and depth:
ALLAN LEAD #2
Stereo doubling and delay. Just ... FAT:
Think the sdram from 1988 finally crapped out. Going to try to get one and see if it fixes it. It seems to freeze at boot up.
On a possitive note I made a really nice sound from my ada std-1 that I cannot make with anything else I have owned
So, how about posting all the settings for each of those patches?
Tagging @AnalogKid85 here, because these H3000 verbs are pretty awesome.
Oh I know, I've already had these on my iPod for like 4 years
If you do, could you please kick it off with a "Things Only This Processor Can Do" or "Things Only the Eventide DSP Platform Can Do" post?
It seems like most of the talk about these units revolve around things it does better than other processors, and we've talked about that to death...I want to know a bit more about what's really unique here, whether it's the Harmonix module, things you can do with the pitch detector, any unique qualities the UltraShifter algorithms might have....can't remember the last time anybody else brought up any of these things!
I also think that a big portion of your "Mastering Modulation" post would be great for that thread, since so much of it was only applicable to the DSP/Orville/H8000 (at least as far as the visualization stuff goes)
I do know that I enjoy the h3000 detune over the pcm81. I'm not sure why there is such a difference in sound to me.
Most people coming from any effects processor, even the stellar ones, have no or little idea of the difference in terms of what can be done on these units, compared to the normal machines.
Because of the platform openness and the amount of modules (over 200) available in it, there is a lot that can be done. The level of depth the user has access to here isn't as deep as the code but the structural aspects are so open one can use different nature modules; one can use a reverb module or build a reverb creating a matrix or a plex or a multi-tap or a traditional reverb algorithm with allpass filters and what not. But the magic is not just about the audio modules; you get to use math, control math, user interface, control process, detector, dynamic, bridge, misc, oscillator modules which can really open up any effect you may come up with. With such modules you can build things that are beyond audio tasks. A calculator, a timer switching a relay on/off to control a display prompting the speaker about his time being over or one minute away from end for his conference speech, or an animated visual effect with stars and text on the display, an "encrypted" system to exchange email messages and what not...
So, when it comes to what exactly can you do with this machine, there is no answer or one or 3 dozens of them. There are billions. I still haven't found a stop to its depths, after a 1/4er of a century. There are millions of things only an Eventide platform can do, this Eventide platfrom. That gives you an idea of how long, endless, intense and yet highly eductional and complete a thread could be.
I have had the privilege to witness many people's first discoveries on this unit, and they were all about "I knew beauty and finesse in the best FX units, but this is just something else". Until the day one touches such reality.... words are just not enough.
One thing... because of the very rich and articulated database of non-audio modules, the aspects of controlling an effect or a task can be so incredibly advanced to enable creative minds to go to the next step. The fact you can make something change/happen/stop/start on different conditions, including logical ones (do or stop doing this if x is lower or equal to y/ or higher or equal to y) which turns effects into a very interactive "entity" whose actions depends on just about any aspect of what you do and decide it to analyze and use for a change.
Many modules can also be turned into monitoring tools: graphic bars or VU meters, text or numeric strings, slaved knobs, master knobs, control tables, horizontal/vertical faders, graphic curves design screens, ADSR, sequencer, spectrum analyzer, tone oscillator, oscilloscope, etc. ... all ways you can visualize what's happening in your effect and control it. You can see how a simple oscillator sweeping your 2 delay lines for a simple stereo chorus, modulates each delay line, its modulation phases, its depth and rate, the panning of each delay, the audio phases sweeping... all processes you decide to build and create monitoring tools for them.
You can see what's going on! You can modulate knobs that are connected to the effects and watch what happens. That is particularly cool with modulation effects as you are changing the delay time of a chorus rather than modulate it, like in tape based effects. It's endless...
There's an UTILITY bank of presets where you only get presets showing useful things... no effects there.
For instance the "Musician Calculator" preset:
you get to choose a note and its octave (knobs) and the unit will show you the frequency (.xxx Hz) and the period (.xxxxx ms.) of that note. Then you can even use a cents knob to apply detuning and monitor how the freq. and period change.
On a second menu you have a BPM and a NOTE set of knobs. You can choose any tempo rate and note rhythmic subdivision... a couple of numeric monitors will tell you the delay time for that note value @ that BPM setting and the rate an LFO would sweep at... if BPM and note subdiv. were applied to a sweep. That is possible because of control math modules such as PitchToFrequency converter and the math modules used for other functions. This is not sci-fi stuff; any software programmer knows these basic tools... but the fact that YOU, the user, have access to them and can use them as tools OR control means/events triggers is just unique.
A "Send/Return" preset shows how you can use hardware I/Os to create external Aux busses to include any hardware inside an algorithm. Imagine your PCM80 being part of an H8000 algorithm and placed where you want... then being controlled by knobs on the H8000 sending out MIDI information to the Lexicon!!!
How about a "Metronome" preset where you set the BPM, numerator and denominator of the time signature, number of bars and the Eventide shows you the amount of absolute time length for what you set, the beat on a graphic bar blinking, the beat number you are ON now and the total number of beats for the whole beats frame you have selected... and an audio click tells time to your ears, with a variable level?
A "MIDI Remote Controller"? Just load it and you have 16 round knobs sending out CCs 1 to 16 and 4 triggers sending out momentary switching function on 4 different CCs you can select.
Something cooler that the above? Easy!
How about those old cool fx boxes that do not have a set of internal modulation sources like your PCM80 has? A PCM70 or SE-70. A Lexicon 300 or TC2290. An Intellifex!
The "MIDI Modulator" preset comes to rescue!
An LFO can be turned into a MIDI CC# (you choose which and the MIDI channel); you can set the lfo speed as a tap tempo subdivision or an absolute speed value, along with waveform and polarity. Patch your external "old timer" parameter(s) to that MIDI CC and things start happening. The sweeping also has a range parameter.. so you may only use a part of the LFO sweep.
And you will see the sweeping on a bar and a numeric value.
Now choose an external footswitch or pedal instead of the Lfo. Or it can be a MIDI CC received by your Eventide from a MIDI controller. That command will be turned into a MIDI CC, even a different one from the received one, and be sent to the other fx unit(s). And you have TIME RAMPS (rise/fall)... each one up to 60,000 seconds (a minute). So you can have your LFO triggering a ramp event or your footswitch become a continuous controller, triggering the ramps. Use Vsig to copy and paste what you like here and make a preset with 8 of these functions or 10... depending on how many control patches your external "dynosaur" supports.
Because you have analyzers of pitch and peak... you can have anything being controlled/triggered by WHAT note you play and AT WHICH LEVEL you play. And shape how the triggered action will be happening... as a curve, a continuos sweep, a string of events, a lot of other things...
Apply such concept to effect and it gets unbelievable. You may have a preset where resonators, ring modulators, pitch shifters, delays and reverbs are routed in some very creative ways and use those events described above as triggers for curves that will shape HOW those effects will be mixed, faded in and out, appear and disappear.
And because you can apply math conditions to how a detected aspect of what you play (pitch/level) will be used in control, you can program logical conditions on mixing those effects... if one of your detected aspects is lower/equal/or higher than x.
You can even build probability curves triggered by pitch or peak or by an LFO sweep or ADSR event... and tie those "probabilities" to trigger a set of pitch shifters that will create chords or arpeggios in ways you have pre_selected (all intervals fall into the same diatonic scale) or totally random.
Gilfix GENIUS presets about Interactive Shifting are a masterpiece on the GTR4000 unit.
"A quick tutorial about 'Interactive Shifting'. The premise is that you choose three possible intervals that lie on a probability curve (interval 0=25%,interval 1=50%, and interval 2=25%). The choice is triggered by the input level. To aid with the trigger, there is a bias control - higher numbers give lower trigger threshold. This version includes a two-voice interactive shifter, envelope control of each voice (to swell the attacks) and a reverb. If you feed it the same note slowly and repeatedly and do not hear (or see) the trigger occur, then turn up the bias. The 'MonSys' parameter lets you monitor the peak level of your source, the trigger actuation, and the random noise sources used to choose the interval numbers, or the sample and hold circuits that
retain the noise values to feed those numbers to the shifters."
So you get:
9. TRIO 4
A two voice interactive shifter, giving an instant String Trio. Choose three intervals per voice and the input triggers one of them. Envelopes and verb add dimension. Bias is trigger threshold.
Two-voice interactive shifter. Instant trio. Choose three intervals per voice and input triggers one of them. Verb adds dimension. Bias is trigger threshold. This version of 'interactive shifting' is based on the same structure as "TRIO" and "BARTOK," with the exception of the exclusion of (nice alliteration huh!) the envelope controls for the shifted voices. All other comments apply.
20. DIATONIC ORGANUM
Two-voice diatonic interactive shifter. Instant trio. Choose three intervals per voice, and the input triggers one of them. Verb adds dimension. Bias is trigger threshold. This 'interactive shifter' has the same structure as "ORGANUM" but utilizes diatonic shifters. Again, the previous notes apply to its use and philosophy.
... and several other presets...
Those manuals are a secret vault of great ideas. Read the descriptions and you'll get the picture. There's SO much stuff on these units, already made in the mid '90s that nothing current has.
Imagine what the H8000 can do then. These things are simply so far ahead of any time.
Regarding this post you wrote about delay chorus and its sweep in cents...
another application of pitch detection has given these results:
I used an oscillator set to C4 and monitored its frequency after a pitch detector: 261,62 Hz
Pitch would be 0 cents as the pitch detector measures the pitch deviation from C4 as a reference point, meaning that C4 = 0,0 cents.
I added a modulatable delay and lfo on a second audio path. The oscillator goes thru the moddelay.
And another pitch detector is placed after the moddelay; so I can monitor the steady freq. of the oscillator and the variable freq. of the chorused only signal, along with its deviation from C4.
So, two monitoring blocks, one for unprocessed OSC. and the second for the chorused version of it.
I set the moddelay as follows:
delay time = 24 ms.
mod depth = 4 ms
LFO is sweeping with a sine wave at 0,1 Hz (one cycle every 10 seconds - slow enough so that I can see what happens).
The chorused OSC sweeps between -2.2/+2.1 cents and its frequency between 261,30/261,95 Hz on C4.
I can change the base delay of the moddelay and nothing changes; the sweep remains exactly the same.
If I change the mod depth... the detuning changes!
With a mod_depth is 1 ms, pitch sweeps between -0,6/0,5 cents.
If I try 100 ms delay with 100 ms of mod_depth I get the chorus sweeping between -55/+53 cents.
So... ROUGHLY... I'd say a 1 millisecond depth delivers about 1 cent of detuning, split in half (+/- detuning).
That can be useful in judging how much detuning you can get from a chorus before it becomes too much... but I strongly suspect sweeping ratios can be different on every machine, so this needs to be considered as a very general suggestion.
1ms = +/- 0,5 cents in pitch variation.
So, I've always wondered why the VSIG software wouldn't work on the H3000 or the Eclipse? Seems like you'd need a midi to usb interface for the units to talk to a PC. Am I missing something here?